SoundCloud Weekly .3649346

Playlist and other information available at: https://www.freeformfreakout.com/fffoxy-podcast-200-penultimate-press-henning-christiansen-archive-feature/

**This episode includes an interview with Mark Harwood of Penultimate Press and Thorbjørn Reuter Christiansen of the Henning Christiansen Archive.**

FFFoxy Podcast #200: Penultimate Press & Henning Christiansen Archive feature

Playlist and other information available at: https://www.freeformfreakout.com/fffoxy-podcast-202-horn-of-plenty-feature/

**This episode includes an interview with Nick Hamilton of the London-based label, Horn of Plenty**

FFFoxy Podcast #202: Horn of Plenty feature

Valerio Tricoli — Clonic Earth
Format: 2xLP / DIGITAL
Cat.No: PAN 71
Release Date: 24th June 2016
http://p-a-n.org/

The experimental Italian composer returns to PAN with a new LP, titled 'Clonic Earth'. His ongoing output for the label has long-presented his electroacoustic sound compositions where since the mid-'00s, he has utilized analogue live sampling and real-time editing of field and studio recordings by means of manipulation of 1/4 inch tape.

Asides from being a founding member of the Italian avant-rock group 3/4HadBeenEliminated, he has worked extensively with various musicians, choreographers and multimedia artists including Thomas Ankersmit, Antoine Chessex, Werner Dafeldecker, Anthony Pateras, and Robert Piotrowicz.
 
His studio compositions, documented on few records, often explore themes of the internal - represented both by the psychological and the physical - and of the occult, which with the use of spoken text makes them often deeply existential works, self-investigations of the psychological, emotional and irrational horror within.

The new record, 'Clonic Earth' is a perturbing, compelling and eventually mind-expanding work, marked by compositional strategies of exploded narratives, psychological insight and oracular literary references, where questions about the boundaries of spatial perception in the decoding processes of acousmatic music are overturned into existential, metaphysical questions. 

Tricoli's allegorical and philosophical universe takes the form of an unhinged mind's landscape swarming with estranged sound objects, and sometimes reminiscent, in the complexity of details and surrealistic effects, of Hieronymus Bosch’s larger paintings. Compared to his previous works, the content of 'Clonic Earth' explores more synthesized and heavily processed sounds, especially vocals, often appearing in the form of a religious, electrified chanting. 

The record is described by its author as a natural consequence of the internal collapse depicted in his previous record, 'Miseri Lares': "As if all the debris left inside my loudspeakers have been ignited to expand into the ether, to find a justification at the principle of Chaos, or Cosmos alike." 

This movement is expressed by references to the theme of fire as original matter in the Chaldean Oracles which, together with the later work of Philip K. Dick, are the main sources for the vocal/text elements of the composition. Fire, intended as the convulsive principle of existence, but also an ontologically terminal element - hence a representation of the infinite decay and a mean of communication with the otherworldly - serves the author a metaphor for the acousmatic listening experience itself: a borderline perception of sounds eternally fixed in their spasmodic disappearance, which could eventually drag us into a different layer of reality, drastically changing, subverting, or expanding the space in which they are diffused. A ritual, somehow, which may link the listener and the perceptive space that he inhabits with whatever lies beyond the loudspeakers, beyond the vibrating surface of the world.

Valerio Tricoli — I. The Hallowed Receiver (PAN 71)

Wersja instrumentalna z próby / Instrumental version, from rehearsal, 2016

Księżyc - Kołysanka szekspirowska  / Shakespeare's Lullaby [from rehearsal]

Angel's Egg - Whip

Dogon Lock - Pulp/Lore

https://cassandramiller.wordpress.com/2009/08/30/large-house/

(photo by Susanna Majuri used here without permission)

When I called this piece “A Large House” it was a title I thought up in a hurry, for no specific reason, and it just seemed to fit. In retrospect, it fits because this piece more than any other made me feel like an architect. I was writing something that was a large space, open, but perhaps with huge pillars holding it up. The piece is stationary, it doesn’t move, it’s grounded in one place, and maybe it even resonates like something with a lofty ceiling. As for any other connection between this piece and a large house, you are welcome to make it as you like.

A Large House

Large House (full) - Janacek Philharmonic, Peter Rundell cond., premiere (2009)

Taken from the LP 'Vang Circular' by Timo van Luijk an Mark Harwood. 

Vang Circular is the first outing from Timo van Luijk (La Scie Dorée / Af Ursin, Elodie) and Mark Harwood (Penultimate Press / Astor). Employing vibes, mellotron, natural reader, an iron ant, synth, metal pipes, slide guitar and a double bass these audacious souls conjure a wonky musical vision that gently peels away the familiar The results are a surprising synthesis of two individual and somewhat oppositional aesthetics. From the farthest reaches of the galaxy to the highest celestial plane the core of this haunted and bewitching release exists as a spectre at the edge of time.  Recorded over a weekend at Kulta Saha studio, Belgium in June of the year 2017 Vang Circular lands in a reverse board sleeve in an edition of 300 copies.

Vang Circular

Timo van Luijk and Mark Harwood - Vang Circular (excerpts)

Leden and Laura's live performances are based on a real-time processing of saxophone’s sounds, using digital devices designed by Fabris himself to sculpt, mould and generate their own sonorities. Laura's playing involves different extended techniques and the use of the mechanics of her instrument, the only sound source of their live set.Their new repertoire combines the emotional power of melody with experimental ambient soundscapes.

LEDEN / AGNUSDEI live electronics

⠠⠔⠧⠊⠎⠊⠼⠸⠺

When I read the parameters for this week's project, I realized I already had a completed track.  I made this ambient version of Gymnopédie No. 1 back in 2013.

More on this 363rd weekly Disquiet Junto project — Gymnopédie Rats: Make over Erik Satie’s “Gymnopédie No. 1” in your chosen genre — at:

https://disquiet.com/0363/

Many thanks to Peggy Nelson and Alex Hawthorn for having proposed this project, at the tail end of last week’s project.

More on the Disquiet Junto at:

https://disquiet.com/junto/

Subscribe to project announcements here:

http://tinyletter.com/disquiet-junto/

Project discussion takes place on llllllll.co:

https://llllllll.co/t/disquiet-junto-project-0363-gymnopedie-rats/

There’s also a Junto Slack. Send your email address to twitter.com/disquiet to join in.

Gymnopédie No. 1 [disquiet0363]

Known to many through his collaborative works with Oren Ambarchi, crys cole, Kassel Jaeger, Klaus Lang, Joe Talia, and many others, this LP is Rushford’s first solo release in a decade and the very first he has composed, performed, and recorded entirely alone.

Primarily recorded in Los Angeles in 2017, The Body’s Night is a single electro-acoustic suite stretching over thirty minutes, utilizing field recordings, flutes, ocarina, microphones, organ, percussion, piano, tape, analog synthesizers, viola, and voice. True to its title, the record immediately ushers into a nocturnal, intimate, claustrophobic space where the hyper-amplified rustle of clothing and vocal mumbles are shadowed by uneasy synth tones, fluttering white noise and distant filigrees of ultra-high-pitched tones at the edges of aural perception. While the influence of contemporary composers such as Klaus Lang and Jakob Ullmann (both of whose music Rushford has performed extensively) makes itself felt in the music’s attention to the liminal space between sounds, Rushford also draws on the bedroom synth explorations of ’80s acts like DDAA and the harmonies and production values of black metal, drawing a common thread between these influences in terms of their shared interest in atmosphere and deliberate retreat from perspicuity. Relief from this claustrophobic atmosphere comes through the episodic structure of the piece, where like an already dark shot fading to black, each sequence retreats from your ears before you can properly grasp it.

Rushford uses classical electro-acoustic techniques and plays elegantly on the fundamental ambiguity of the acousmatic situation in which you can never be sure of the source of the sound you are hearing. But rather than a tribute to the masterworks of musique concrete, this is defiantly idiosyncratic and personal music. Meticulous in production values and exploratory in timbre, tonality and form, The Body’s Night is a key work from one of the most singular young composers at work today.

Stunning artwork by O.B. De Alessi. Design by Lasse Marhaug. Mastered for maximum fidelity by Rashad Becker at Dubplates & Mastering, Berlin.

Timo van Luijk and Mark Harwood - Vang Circular (excerpts)

Penultimate Press

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